Shloka 77
Genealogy of the Ancestors (Pitṛs) and the Procedure of Śrāddha
अदैवतं विजानीयात्पार्वणं पर्व सुस्मृतम् । पार्वणं त्रिविधं प्रोक्तं शृणु यत्नान्महीपते
adaivataṃ vijānīyātpārvaṇaṃ parva susmṛtam | pārvaṇaṃ trividhaṃ proktaṃ śṛṇu yatnānmahīpate
اَدَیوتَ (adaivata) کو پارون (Pārvaṇa) کرم ہی سمجھنا چاہیے، جو پَروَن کے انوشتھان کے طور پر مشہور ہے۔ پارون تین قسم کا بتایا گیا ہے—اے مہاراج، توجہ سے سنو۔
Unspecified narrator addressing a king (mahīpati)
Concept: Ritual categories must be correctly understood before performance; dharma begins with right definition (saṃjñā) and careful listening (śravaṇa).
Application: Before undertaking any vow, worship, or family rite, learn its proper classification, eligibility, and method from reliable sources; avoid improvisation in sacred duties.
Primary Rasa: shanta
Secondary Rasa: adbhuta
Visual Art Cues: {"scene_description":"A learned narrator sits on a kusa-grass seat in a quiet sacrificial hall, addressing a crowned king who listens with folded hands. Behind them, a low altar holds ladles, darbha, and a manuscript bundle, suggesting the careful classification of rites before action begins.","primary_figures":["narrator-sage","mahīpati (king)","attendant brāhmaṇas"],"setting":"a palace-adjacent yajñaśālā with ritual implements, palm-leaf manuscripts, and a small fire altar","lighting_mood":"temple lamp-lit","color_palette":["saffron ochre","smoke gray","palm-leaf tan","deep maroon","golden amber"],"tanjore_prompt":"Tanjore painting style: a seated sage-teacher instructing a jeweled-crowned king in a palace yajñaśālā, small fire altar and ritual vessels in foreground, ornate arches and pillars, gold leaf halos and borders, rich reds and greens, gem-studded ornaments, traditional South Indian iconography with crisp symmetry.","pahari_prompt":"Pahari miniature style: an intimate teaching scene—sage on kusa mat explaining parvan rites to a respectful king, delicate brushwork, soft facial expressions, muted earth tones with cool accents, a small altar and manuscripts, lyrical naturalism and fine textile patterns, distant hills hinted beyond a pavilion.","kerala_mural_prompt":"Kerala mural style: bold black outlines, warm red/yellow/green pigments, sage and king in profile within a temple-like hall, stylized fire altar and ritual vessels, large expressive eyes, decorative floral borders, calm didactic mood.","pichwai_prompt":"Pichwai cloth painting style: a devotional-ritual tableau with ornate borders of lotus and tulasi motifs framing a teaching assembly; central pavilion with sage and king, miniature ritual items, deep indigo background with gold detailing, intricate floral filigree and symmetrical composition."}
Audio Atmosphere: {"recitation_mood":"narrative","suggested_raga":"Yaman","pace":"moderate-narrative","voice_tone":"authoritative","sound_elements":["soft temple bells","low crackle of a small fire","page-rustle of palm-leaf manuscripts","measured silence between phrases"]}
Sandhi Resolution Notes: विजानीयात्पार्वणं = विजानीयात् + पार्वणम्; यत्नान्महीपते = यत्नात् + महीपते.
FAQs
It introduces the Pārvaṇa (a Parvan-related ritual observance) and states that it is classified into three types, inviting the listener (a king) to hear the detailed explanation.
‘Mahīpate’ means “lord of the earth,” i.e., a king. The verse is framed as instruction delivered to a royal listener, though the specific king is not named in the provided excerpt.
Because the topic is a technical dharma-ritual classification (the threefold nature of the Pārvaṇa), the verse signals that careful attention is needed to grasp distinctions and proper practice.